School of Rock

Based on the hit film, this funny musical follows Dewey Finn, a down‑on‑his‑luck wannabe rock god who reinvents himself as a substitute teacher at an elite prep school. Once there, he transforms a class of straight‑A students into a guitar‑shredding, bass‑slapping, mind‑blowing rock band. As he teaches these pint‑sized prodigies the true meaning of rock, Dewey also finds himself falling for the school’s beautiful, but uncompromising, headmistress—helping her rediscover her own inner wild child.

The performance reviewed was the DC team’s, and what a night they delivered.

Daniel Austin as Dewey Finn played the role with aplomb. He struck a fine balance between bravado and vulnerability, especially in the face of Patty’s relentless put‑downs.

Connor White’s Ned Schneebly kept the pace of the show ticking along nicely, never letting it drag or run away. Good song interpretations but seemed to struggle at times with the higher notes.

Hope Hampton brought a wonderfully uncompromising authority to Rosalie Mullins, while also revealing her softer side in her feelings for Ned. Her heartfelt rendition of Where Did the Rock Go? was a genuine standout moment.

Ellie Murphy commanded the stage as the formidable and manipulative Patty Di Marco, delivering just the right level of dominance over the hapless Dewey.

Among the supporting cast, Miley Macdonald shone as the studious (some would say swot) Summer Hathaway, while Vivienne Watson gave a beautifully understated performance as the shy Tomika Spencer Williams. Her a-cappella rendition of Amazing Grace, sung to a hushed auditorium, was a moment of pure theatrical magic—richly deserving of the applause it received.

It was also refreshing to see cast members playing live bass guitar and drums onstage, adding an extra layer of authenticity to the show’s energy.

Every cast member should be proud of what they achieved – all cast members need to feed off each other to deliver a great show – and you all delivered!!!

Faye Laurie deserves huge credit for stepping in as Musical Director with just three weeks to go, building on the excellent groundwork laid by Rod Iliffe. The NMPAT student band played tightly throughout, though at times they overpowered the singers—one entire song was lost lyrically due to volume and the absence of microphones for the performers.

Sam Perryman’s choreography was crisp, effective, and well‑organised, adding vibrancy to the overall performance.

Katy Batchelor’s direction allowed every cast member to shine in their own way—no small feat with two casts and only twelve weeks to pull everything together.

There were, unfortunately, several sound issues. Whole or part lines were lost due to microphones not being activated quickly enough.

Lighting was generally strong, though there were a couple of dead spots onstage. In the opening scene with Dewey and Ned, both performers spent much of the moment with their faces in deep shadow—should the follow spots have picked them up?

Costumes suited the characters well, though a few were a little large, leading to some noticeable waistband‑hitching during more energetic scenes. Props were used effectively throughout, and Dewey’s transformation into the resemblance of a member of Kiss was enhanced by excellent makeup work.

The scenery worked well overall, though the final step at the bottom of the staircase appeared higher than the others, causing some awkwardness negotiating it.

One thing missing on this particular night was a full auditorium. Those who attended, however, were fully immersed, leaving with smiles on their faces—and no doubt a few songs stuck in their heads.

Thank you for the invitation to review the show. Keep on rocking—and “Stick it to the Man”.

 

 

 

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